In January of 2018, Brooklyn-based painter Patricia Treib was inter



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Crown Point Press

Newsletter

Spring 2018

In January of 2018, Brooklyn-based painter Patricia Treib was inter-

viewed by Crown Point director Valerie Wade during her second week 

of working in the Crown Point studio.

VW

: You’ve been here at the Press two weeks, now, and have com-

pleted five color aquatints. I understand that this process was new 

to you. Did you find it offered you good options for developing 

your work?

PT

: Oh, yes! Almost too many options!



VW

: When you’re getting started with an image, how do you begin? 



PT

: It’s important that I work with something I’m observing.  

The starting points I use are mostly things I find ambiguous

with some kind of mystery to them.  They are points to meditate 

on—an area I find unusual, something I’d like to take further. I 

will then focus on the less-nameable and more ephemeral aspects 



Pendulum, 2018. Color sugar lift, soap ground and spit bite aquatints. The images 

shown here measure 15-x-11¼-inches on a 20¾-x-16½-inch sheet, each in an edi-

tion of 25. All images printed by Courtney Sennish. Visit crownpoint.com for prices 

and information.



PATRICIA TREIB

Printmaking Both Fast and Slow


2

of what I am looking at and attempt to give those areas more 

weight and presence through the way they are painted. I’m not 

focusing on a nameable thing, but on the area around it, on 

something less known. 

VW

: Etching is a slow process. Did that matter to you?



PT

: I work by practicing and rehearsing and building up to the 

point of marking the paper or canvas. However, I want the paintings 

to feel as if they came together all at once; that they just appeared.

In printmaking, I found it challenging to bring in a sense of 

speed and the feeling of simultaneity that I aim for in painting.  

But, I am also interested in an image where the time of making is 

more complicated and deliberate. One that is both fast and slow, 

though it may appear spontaneous. 

VW

: I read in a review that your work is about icons and art his-

tory. Is that true?

PT

: I have worked with a detail of a Russian icon, of a hand 

emerging from a drape, and details of historical paintings, but hav-

ing a personal connection to the source I begin with is the most 

important part. It’s not about reinterpreting an icon; I want it to 

be about the time and experience of looking itself. The source is 

in there, but in a tangential way. The question of subject matter is 

elusive. I need it to start with, but it slips away—although a rem-

nant of it may remain.  

VW

: What about color?



PT

:  Color is one of the most important elements. I bring it in 

from a separate direction, and it is at times shocking, and other 

times more subtle. But in every case I want it to be something that 

can shift the space, or contribute to shifting it.  Hopefully it adds a 

sense of animation; it isn’t sitting still. 



VW

: Your palette isn’t just primary colors: red, yellow, blue.  Is it 

an emotional reaction?

PT

: Yes, I want it to evoke a feeling. 



VW

: What did you find different about the medium of etching—

as opposed to doing a drawing or a watercolor?

PT

: Transparency and light are important to me—how the color 

sits on the surface. Here, I couldn’t get to the surface, to see how 

the color will exist, until the very end. So, I had to do a lot of 



Straps, 2018. Color sugar lift, soap ground and spit bite aquatints.

Drape, 2018. Color sugar lift, soap ground and spit bite aquatints on gampi paper 

chine collé. 




3

Cuff, 2018. Color sugar lift and soap ground aquatints with aquatint.

experimentation. I later realized that I didn’t want to approximate 

painting. I wanted to think about the etched plate for itself, to 

think about its range. 



VW

: Can you describe how you came to that conclusion?



PT

: I was working with aquatint, with large areas of tone, which 

is close to how I work with painting. But in painting, I thin down 

the paint significantly, and here, the thinness has to do with the 

bite in the plate and that causes the thickness of the ink.

VW

: So, did you approach the plate differently than you would 

approach a painting?

PT

: Yes, although I found an important connection between the 

type of figure and ground reversals that I strive for in painting 

and the etching process itself. I was working mostly with sugar 

lift aquatint. The mask, or the painted area on the plate, is later 

washed away; what remains on the plate is the absence of a painted 

mark that you can then build up in different ways. I found that 

this process of only being able to record the absence of a brush 

mark corresponded with the types of negative spaces and spaces in-

between that I look for as subjects in my paintings.  



Interval, 2018. Color sugar lift, soap ground and spit bite aquatints.

Patricia Treib in the Crown Point studio, 2018.




Visit, phone, or find us on the web: 415.974.6273  crownpoint.com  magical-secrets.com

Follow ouR sToRy on InsTAgRAm @crownpointpress

20 Hawthorne Street

San Francisco, CA 94105

415.974.6273 

crownpoint.com

Crown Point Press

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In ThE CRown PoInT gAllERy 

PATRICIA TREIB  



May 3 - June 30, 2018 

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